This is the blog post I almost never started. The responsibility seemed like too much to bear, for too long.
Then I heard the show might get a reboot. And that was after I’d started watching the entire series a second time, and fell in love with it all over again.
I’d been a fan of the BBC ‘Office’ well before the American show was developed. I still remember tuning in to NBC at the appointed time to watch the premiere episode, cynical and ready to dislike. How could an American version of this show possibly compare to the BBC version, which had already established itself as iconic after just two seasons?
I didn’t love the pilot, and all six episodes of Season 1 were just OK, in my view. But there was something there, so I stuck with it. And I’m glad I did. I also love Sunny and Seinfeld, but if I had to pick one, and only one comedy, to watch over and over again, it would have to be ‘The Office.’
After the series run, the show got a second life of sorts when a whole generation of fans (including Billie Eilish) discovered it on Netflix, then Peacock (NBC’s streaming services, where it now currently and exclusively resides.) From its debut on March 24, 2005 (Season 1, Episode 1: "Pilot") to the series finale on May 16, 2013 (Season 9, Episode 24: "Finale") the show won an Emmy for Outstanding Comedy Series, a Golden Globe for Best Actor, six Screen Actors Guild nominations, and earned prestigious accolades like the Peabody Award and a Writers Guild win, forever etching its place in TV history.
Now before I get started in outlining my favorite episodes, you might ask yourself what qualifies me to take be the judge. I did write not one, but three spec “Office” teleplays, and two placed in a notable industry screenwriting contest. I still think my episode where Michael attends his high school reunion is a potential classic that never was (you can read the script here). I knew the characters. I knew the show’s rhythms. I knew the tone, because I was pretty obsessed with it. I still am. I’ve always been something of a comedy scholar, watching certain ‘Kids in the Hall’ sketches or episodes of the aforementioned sitcoms over and over again, studying the timing, direction, editing and acting. It’s part of my film school training (both criticism and production) to want to break down why things work.
If you’ve ever wondered what would happen if Michael Scott went to his high school reunion, you can read my script for “The Office.”
So there you have it. You’re welcome to disagree with the episodes below. In fact, I encourage a respectful, healthy debate. If you like one better, or think one of these should be subtracted, well… I’m not going to do that. I live and die by this list, and it didn’t change upon repeated viewings of these episodes. But I’m always interested to know which episodes other fans think are the best. It’s part of what makes us fans of the show.
Now before we dive in, an important note: THERE ARE SPOILERS AHEAD. I can’t really break down each episode without giving some things away. That said, I’ve tried to avoid giving away specifics, so if you’re new to the show, you can still read the list and not have your first viewing ruined. There, you’ve been warned.
So without further ado, I give you the Top 12 episodes, in chronological order (not in order of merit). That way, if you’re new to the show, you’re not only in for a big treat, but you can just subscribe to NBC/Peacock and watch them one at a time to see the best of the best right up front, which I am fairly certain will make you want to watch the entire 9-season run.
#1 - “Take Your Daughter to Work Day” - It should be noted that before this, the series really started to hit its stride with “The Client” (S2, E7) which could’ve very easily made this list. Ex-SNL Tim Meadows as said client is hilarious, and the series showrunners made Michael competent (at least in terms of sales), unlike his BBC counterpart Ricky Gervais.
A few episodes later, “Take Your Daughter” really started to strike that trademark balance between dramedy-esque awkwardness and pathos and LOL comedy. It’s also notable that this episode was written by Mindy Kaling, who not only plays Kelly Kapoor, but also served as one of the show’s best writers, as evidenced by another episode ahead.
In this episode, the employees bring their kids to work to observe their parents. The key scene for me is when Michael makes Ryan go to his mother’s house to retrieve a tape of a children’s show he was on as a young kid, called “Fundlebundle.” I don’t want to spoil what I think is the best scene in this episode, but it’s sad, funny, poignant, and something we can all relate to, all in one. Which to me is what makes the show so special. If you’ve never seen the show and particularly this episode, you’re in for a 22-minute work of art.
#2 – “Conflict Resolution” (S2, E21)
Michael discovers Toby’s box of office complaints to HR and tries to resolve the disputes himself. Needles to say, chaos, hurt feelings, and hilarity ensue.
Office showrunner Greg Daniels wrote this one and you can tell. It’s tight, fast, hilarious, and every scene pops, from Michael facilitating the conflict resolution to the sly homage to Raiders of the Lost Ark in the episode’s final shot.
The subplot about office IDs being taken results in one of Jim’s best pranks and one of the episode’s best scenes (Dwight’s middle name is also revealed). The scene with Michael mediating the “cage match” of resolution between Jim and Dwight and recapping each of Jim’s pranks is iconic, along with Dwight’s reactions.
The episode is a master class in how to bring characters to life in a few short lines and scenes, and one of those episodes where the entire ensemble gets a chance to shine.
Favorite line from this episode (of many)—Jim: “Theeerre ya go.”
#3 – “The Return” (S3.E14)
This episode is really the third episode of three consecutive great ones, although this is the one that goes on this list.
“Back from Vacation” (E12) is another one where Michael causes his own problems, sending a saucy photo of his and Jan’s secret vacation together to the entire office. I always thought Melora Hardin was one of the best actors on the show, with her cold, uptight Jan being the perfect foil for Michael’s antics and desire for true romance. There’s also a touching and hilarious scene where Dwight attempts to comfort a distraught Pam, building a foundation of an unconventional friendship of sorts that would carry through the show’s run.
“Traveling Salesman” (E13) is a strong episode where Andy (Ed Helms) manipulates Michael into firing Dwight. This culminates in “The Return,” where Andy demonstrates how annoying he is by relentless sucking up to Michael, and Michael realizes his mistake.
One common thread through the episodes on this list is a sense of rhythm—meaning they come together in a way where every line and scene seems to connect, pay off, and exceed the sum of its parts. It’s what makes certain episodes like this so re-watchable, not to mention scenes of Dwight working at Staples and Michael visiting the store to convince Dwight to return to Dunder Mifflin. Classic scene, classic episode.
#4 – “Business School” (S3, E17)
One thing I noticed about these previous top two episodes is that Michael is the catalyst–his flaws and insecurities drive the story and escalate the situation until it blows up in his face.
This episode is similar in that Michael turns a simple request from the office temp/business school student Ryan into something both hilarious and awful. Ryan asks Michael to speak to his class about Dunder Mifflin, but of course Michael—an example of the Peter Principle—can’t keep it simple or deliver a competent presentation about business.
When challenged by the students on Dunder Mifflin’s ability to survive in the age of the internet, Michael flounders and he directs his anger and insecurities at Ryan. This culminates in Michael teaching Ryan a valuable lesson about business, while revealing more about his loyalty and commitment to the company.
This culminates in a scene where Michael is the last of only a few Dunder Mifflin employees who show up at Pam’s first showing at an art gallery. This scene not only underscores Michael’s loyalty to his employees, but also shows his more paternal side toward Pam – a theme that runs throughout the rest of the show’s run.
So now we’re starting to see that Michael can not only be competent and come through when it counts, he’s also loyal to the company and his people. The fact that he’s not quite as clueless, attention-starved, and callous as his BBC counterpart is what makes Michael’s character and the show work for as long as it did.
#5 – “Dinner Party” (S4.E9)
This one is top-rated on IMDB for a reason and has likely made many “best of” lists like this one. I remember when I first saw it, I thought it was pretty dark and lacked the show’s more typically lighthearted tone. But over time it’s one of those zags or variations that made the show so great. It also put into sharp relief how crazy Jan is, and how clear it is that Michael is simply with the wrong woman.
In this episode, Michael tricks Jim and Pam into finally accepting an invitation for a dinner party hosted by him and Jan at his condo. Other guests include Andy and Angela, along with uninvited Dwight and his ex-babysitter/”date.”
Again, we have to give Melora Hardin her proper due as one of the show’s true stars in the earlier seasons. It takes a lot of courage to act as cringey as she does as the comedic straight person, and still make it hilarious. If you watch closely, you can see Jim smiling when she tries to pull him off the dance to her former assistant Hunter’s bad music – which is him breaking character because she did not do the off-beat dancing in rehearsals.
Speaking of breaking character, the bloopers of Michael showing off his miniature, wall-mounted plasma screen TV are gold. Trivia: the episode was shot inside an actual condo in Reseda, just 8 miles from where the show was shot in Van Nuys.
#6 – “Golden Ticket” (S5.E19)
By now the show had caught fire and was in the zone. Other episodes in Season 5 were great, too, but this one marks the beginning of a six-episode hot streak, with the next kicking off one the series’ finest arcs with Charles Miner (brilliantly played by Idris Elba) coming in hot as Michael’s boss.
This one was also written by Mindy Kaling, and like a perfect 3-minute pop song, it hits all the right notes, with flawless rhythm and sense of pacing and escalation. It follows a fairly standard formula of Michael’s actions blowing up in his face, this time with him romping around the office as Willy Wonka and bringing his “Golden Ticket” idea to life, placing 5 coupons for 10% of paper orders in random shipments from the warehouse.
Chaos soon ensues, and once corporate catches on, Michael asks Dwight to take the fall. The episode is a stellar showcase of Kaling’s writing talent, and the A plot here is so good, there’s no need or room for a B-story. Even the cold open is one of the better ones in the series.
At this point in the series run, we also start to see some excellent acting from Andy Buckley as David Wallace, Michael’s boss and Dunder Mifflin’s CEO (who actually worked in the finance world full-time while working on the show [thanks, Office Ladies]). Another stellar cast member in this ensemble show.
#7 - “New Boss” (S5.E18)
This episode was written by the same writing pair (Gene and Lee) who wrote “Dinner Party,” and it strikes that same dark and somewhat explosive tone that makes them both so unique and resonant.
We always wondered when David would put a layer between him and Michael, and that arrives in the form of Charles Miner, a manager formerly of Saticoy Steel. At first, Michael is of course clueless that Charles is there to manage him at the Scranton branch, giving him a hearty welcome that includes a conference room spread full of “C-shaped bagels” in Charles’s honor.
Michael’s meltdown begins once he catches on that Charles is indeed there to manage him. First, insisting that Kevin address him with a question about overtime, the tension escalating even further when Charles dissolves the PPC (Party Planning Committee), which had been planning Michael’s 15th year workversary at Dunder Mifflin.
It’s an office train wreck that’s truly uncomfortable to watch, which of course makes for an iconic episode and unforgettable entertainment—all leading into five more episodes that could all be honorable mentions on this list.
#8 – “The Lover” (S6.E7)
I love this episode for similar reasons I love Lee and Gene’s other episodes on this list. Namely, they’re hilarious and original, but the pace is also a little more intense, and the storylines and situations are a bit darker and devoid of sentimentality.
I feel like this one in particular–where Michael reveals he’s sleeping with Pam’s mom (!)—pushes the envelope in that we’re seeing the characters react in more intense ways to more intense situations. The writing brings out the best from Jim and Pam in particular—it’s all in their reactions.
The comedy doesn’t fall back on cheap tropes to get bigger laughs. It’s also a fresh storyline and seems like something Michael would actually do, i.e. cross that final boundary between his personal and professional lives, as well as his employees.
Some of my favorite moments in this one:
Jim breaking character and laughing when he says “Who’s the lucky lady?”
Jim losing it on Toby then Michael: “Then take a different way home, man!”
Pam losing it when Michael reveals who he’s sleeping with. “Who is it… ?” Then the parking lot scream.
Jim: “Who wants a hot chocolaaate”? One of my favorite Jim lines ever.
Jim: “It’s allll good.”
Jim: The final, broken “Frank and Beannnns.”
#9 – “The Inner Circle” (S7.E22)
I didn’t think I could love Will Ferrell any more than I did from his SNL days, but of course he kept doing great things. His turn as Michael’s replacement DeAngelo Vickers is just one more example of his comedic genius.
Honestly I probably could’ve put the episode of his first appearance on this list, “Training Day,” but “The Inner Circle” feels the best and most complete of his four-episode arc. I mean, come on… the air juggling routine to Evanescence’s “Bring Me to Life” is about as epic as it gets.
Jordan’s not-so-resting B face
Like Michael, DeAngelo needs to be liked to… but really, really wants to be liked by Dwight. He seems to be surprised by the office ladies accusing him of sexism, but then hires young Jordan, whose last job was in retail at Abocrombie, and who has no qualifications or skills except looking like a young supermodel.
Last tidbit on this one is John Krasinski (Jim) breaking in the very, very last shot at what I assume was a ridiculous line improv’d by Will. Look for the little grin. He can’t help it, and neither can we.
#10 – “The Incentive” (S8.E2)
My first time seeing Ed Helms (Andy Bernard) was when he was on “The Daily Show” a long time ago. Then he showed up as obnoxious preppy bro Andy Bernard on The Office. I never thought he was ha-ha funny but I also didn’t dislike his presence on the show. Should he have been the one to take over Michael’s job, or more specially, fill the void once Steve Carrell left? Mmmmm I’ll let you answer that.
All that said, I think he became a more welcome presence when he started running the Scranton branch, simply because the show needed to make him more sympathetic and not such an angry, obnoxious tool.
Here, Andy’s mettle is tested when his boss, Robert California (played brilliant by James Spader), tells him he needs to double the branch’s sales. Desperate and inexperienced Andy comes up with a rewards program that backfires when he promises to tattoo his ass if the office can meet the goal.
James Spader as Robert California, perhaps the most enigmatic character in the Office
When Robert asks Andy if he knows how to inspire, Andy does not instill confidence, prompting Robert to give the office a rousing speech about their relevance in the paper industry. It’s one of many of Robert’s memorable moments and Spader’s truly great scenes on the show.
Of course what makes it feel complete is its happy ending in classic sitcom style, where after some blundering misfires, Andy ultimately succeeds in motivating the team and achieving the goal—earning some more affection and respect in the process.
#11 – “Test the Store” (S8.E17)
I’m just gonna come out of the gate and say this is one of my top-top favorites in the show’s run, and another written by Mindy Kaling. The A story here is Dwight’s goal for a successful Sabre store launch to close the VP slot conditionally promised to him by Nellie. Complications ensure, and Dwight is forced to turn to Jim to save the day.
Even the cold open is hilarious, kicking off an episode that’s packed with a ton of sight gags and visual humor—a hallmark of great screenwriting in itself. There’s Jim spinning the sign, holding Ryan’s tiny shoe, the little spin when he trips, the eyeliner, the Pyramid on fishing wire, Stanley pulling a slice of pizza out of his Tri-Pack… the list goes on.
Some great quotes in this one, too:
“I’ll swoop in like a sexual predator.” — Packer
“Point it toward the store, idiot!” — Dwight to Jim
“The elderly suck the life out of the young.” — Dwight
“We don’t want our brand associated with death.” — Erin
“You are wearing eyeliner, Jim!” — Dwight to Jim
“Time. Space. Gender.” — Jim’s keynote speech
As tight as the story is here, the episode also managed to work in its hallmark intelligence and pathos with Ryan’s meltdown under the pressure and taking a bus to visit his mother (“I just… wanted to go home.”) I love how the keynote speech he had prepared becomes VO for that footage, and the parallels that draws. Another 23-minute work of art with plenty of LOL moments.
Heck, just writing this makes me want to watch the episode again tonight. You should, too.
#12 – “The Whale” (S9.E7)
I know a lot of die-hard Office fans thought the show died along with Michael Scott, but I don’t see that as the case. There was definitely a void when Steve Carrell left at the end of Season 7 under apparently weird circumstances (more here). But the show had enough talent across the cast, producers and writers that it still felt like ‘The Office,’ and there were plenty of great episodes and guest bosses in the form of Nellie Bertram (Catherine Tate, who was apparently the first choice to play Michael’s replacement) and Robert California.
“The Whale” is one of those episodes I would call an Office classic. Dunder Mifflin head honcho David Wallace asks Dwight to close a sale with the White Pages (“There’s a reason we in the paper industry call the White Pages the Whale,” Dwight explains, flipping through the giant phone book. “Look at all that sweet blubber.”) When they learn that his would-be buyer is a she, the rest of the office reminds him he can’t sale to women, and starts a conference room boot camp of sorts to educate him on how to do so. Things take a twist when the find out who that buyer really is, and Dwight’s sales instincts kick into high gear.
Aside from just being straight-up funny, there’s so much to like about this episode, with the core theme about how Dwight deals with women. It’s another episode that underscores the sometimes sweet and subtle friendship that develops between him and Pam. “You’re the Quiznos” and Dwight’s evil giggle might be his best line in the series run. Carrie Kemper (secretary Erin/Ellie Kemper’s sister in real life, also Office story editor) wrote this one, and not incidentally also wrote one of my favorite “Silicon Valley” episodes (she also plays Jan’s secretary in this episode). Even the cold open with Andy barely surviving a sailing trip, and Nellie’s reactions to Dwight trying to act “normal” in his selling-to-women bootcamp are comedy gold.
final thoughts
This post was a labor of love. It almost pains me to write this closing, but I will say now that I can see it being updated over time—if not with new episodes (my mind is pretty much made up after all this time)—then with new information or edits to what I’ve written.
In hindsight, the Office is probably my favorite show of all time. It’s smart, hilarious, and the perfect mix of comedy and real humanity. I’ve always been drawn to dramedy as a genre, and the Office always managed to strike that perfect tone on the spectrum, and never straying too far into sentiment or seriousness.
The cast always had their moments—and I could probably write another post about each one—but having watched the entire series again, it’s clear how good Jim, Pam, and Dwight were, in addition to Steve Carrell. I also realize in hindsight what talented actors and comedic performers these three really were. I’d argue that people stuck around to see them just as much as they did Steve Carrell, even if that didn’t play out in Season 8 or 9 ratings (people also don’t like change).
There’s a reason the series is so iconic and remains so beloved to this day. It’s just really f-ing good. It’s hard to believe something so edgy and appealing was on network TV, which tends to cater to the safe and lowest common denominator, at least today. I don’t know how they’d ever reboot it, and honestly, I hope they don’t, because it wouldn’t be the same show in today’s politically correct culture (a complaint shared by many of today’s comedians).
Now if you’ll excuse me, I’m going to watch the show all over again.
MORE OFFICE GOODIES
The Office: The Untold Story of the Greatest Sitcom of the 2000s: An Oral History – Andy Greene
Welcome to Dunder Mifflin: The Ultimate Oral History of The Office – by Brian Baumgartner (Author), Ben Silverman (Author), Greg Daniels (Foreword)
The Office Ladies podcast – Pam and Angela break down every episode
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